This is something of a watershed moment for me. My library of musical morsels is very particular. I love the classic LP immeasurably, to the point where, of the hundreds of albums I own, only one of those is a “Best of...” (Four Thousand Seven Hundred And Sixty-Six Seconds by Teenage Fanclub, if you’re asking, an album I urge everyone to go and buy). I would never have thought of possessing a “remix” album, but life is all about variety and expanding one’s horizons, so I though what better opportunity to branch the musical gap between crippling anal retentiveness and wholehearted open-mindedness by getting my hands on a Slow Down, Molasses remix release.

The idea of a remixes album has never really struck me as something I’d really get into. I love the thought of a band coming together and forming a group of songs together, as a collective, and naturally developing that song into a finished product; the craft of song-writing and musical production left open to the elements for all to admire (or perhaps ridicule). A remix album however, I always thought, simply strips the original song of its original emotion and lazily sticks a dance-oriented drumbeat over the top. Yawn, boring, yawn, yawn. We’ve heard it all before and we’ll hear it countless times again. However, something grabbed my attention with this particular release.

Slow Down, Molasses aren’t the kind of band who you can just layer a half-hearted electro beat underneath and call it a dance-remix. Broken Social Scene style indie-rock which is intricate and multifaceted doesn’t exactly scream “DANCE FLOOR TUUUUUUUUUUUUUNE” does it? Plus, looking at the names of those who have remixed the songs inspires confidence in the potential for this musical reimagining of sorts. Bristol’s instrumental folk maverick Message To Bears and Oxford’s electronic whizz-kid Sebastian Reynolds both contribute. Hardly David Guetta, is it now?

The four songs on display here (‘Walk Into The Sea’, ‘Light’, ‘Late Night Radio’ and ‘Bodies’) are all great tracks in their own right. In their original forms there are blustery yet poignant, tracks such as ‘Late Night Radio’ go all out with guitar feedback and distorted vocals, whereas ‘Walk Into The Sea’ is a tender folk ballad complete with cello, acoustic guitars and a banjo. So do the remixed versions of these songs breathe a new life into the band’s sound? I would argue that, although they offer a slightly fresh perspective on the originals, they do not improve or alter them enough to prove worthwhile. Perhaps it is naive to think one guy at a laptop could completely remodel and reform a song beyond comprehension to the point where you can enjoy its new form regardless of how the original sounded, but the tracks on show here hardly showcase the importance or relevance of a remix album.

The additional soggy drumbeat on Factor’s reimaging of ‘Walk Into The Sea’ seems like a somewhat rushed and superfluous addition, Economics adds a bit of reverb and some swelling synths to ‘Light’, but it’s certainly nothing to write home about and Foam Lake does exactly what I originally feared; sticks a sketchy drum-beat underneath. How inventive.

So, speaking frankly, this release has done nothing to change my prejudice towards remix albums. Maybe I'm missing the point, but why would you spend both the money and the time investigating an album of mutilated tracks when the originals are infinitely better? That said, the Light Fires remix of ‘Walk Into The Sea’ is pretty chill.